Representing the 'ouens' : an investigation into the construction of performed identities on stage in KwaZulu-Natal, in the works of Quincy Fynn (Walking like an African, 2004) and Kaseran Pillay (My cousin brother, 2003). (Thesis, 2006
This dissertation investigates the construction of the marginalised self, an
identity, and the impact that context, pre and post-apartheid South Africa, may
have on that constructed masculine identity. This examination of the self is
mediated through the medium of theatre. It is this 'encounter', which theatre
offers, that becomes an important instrument through which the self, society and
social issues may be examined and critiqued; and it is through this critique that
change may be sparked and brought about.
This investigation of the self, the construction of a masculine identity, is looked at
through the writings of, amongst others, Stuart Hall (1996 (a) & 1996 (b); 1997),
Lawrence Grossberg (1996), Judith Butler (1993, 1999), Robert Connell (1987;
2002) and Robert Morrell (1998, 2001(a) & 2001 (b)). Further discussions around
the construction of identity and its relationship to context (a multicultural and
multiracial context) is examined via the writings of Richard Schechner (1991) and
Patrice Pavis (1992).
The theatrical forms of self-standing monologues and stand-up comedy are
useful forms through which 'protest' against the status quo may be engaged.
These forms are utilised by Quincy Fynn (self-standing monologues) and
Kaseran Pillay (stand-up comedy); and it is through their performance works
Walking like an African (2004) and My Cousin brother (2003), respectively, that
this dissertation looks at their challenges to hegemonic forms of masculinity,